L. Subramaniam Zakir Hussain at CITI-NCPA Aadi Anant

December 2017

ON Stagevolume 7 • issue 5

L. Subramaniam Zakir Hussain At CITI-NCPA Aadi Anant

PRAVAHA CELEBRATING NEW CHOREOGRAPHY

DAVID HOCKNEY INDEFATIGABLE IN HIS EIGHTH DECADE NCPA Chairman Khushroo N. Suntook

Executive Director & Council Member Deepak Bajaj

Editorial Director Radhakrishnan Nair Contents Editor-in-Chief Oishani Mitra

Consulting Editor Ekta Mohta 16 Senior Sub-editor Cynthia Lewis

Editorial Co-ordinator Hilda Darukhanawalla

Art Director Amit Naik

Deputy Art Directors Hemali Limbachiya Tanvi Shah

Graphic Designer Vidhi Doshi

Advertising Anita Maria Pancras ([email protected]; 66223820) Tulsi Bavishi ([email protected]; 9833116584)

Senior Digital Manager Jayesh V. Salvi

Published by Deepak Bajaj for The National Centre for the Performing Arts, NCPA Marg, Nariman Point, Mumbai – 400021

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Printer Spenta Multimedia, Peninsula Spenta, Mathuradas Mill Compound, 08 N. M. Joshi Marg, Lower Parel, Reflections 16 Mumbai – 400013 On loving Vincent. By Anil Dharker The New Season The Symphony Orchestra of India’s 24th Materials in ON Stage cannot be reproduced in season promises some great works and an part or whole without the written permission 10 international roster of artistes. of the publisher. Views and opinions expressed In Their Fathers’ Footsteps By Zane Dalal What is it like following in the footsteps of in this magazine are not necessarily those of musical legends, blurring the lines between the publisher. All rights reserved. parent and guru? We speak to two young musicians to find out. By Reshma O. Pathare 20 NCPA Booking Office Rebel in Technicolour 2282 4567/6654 8135/6622 3724 David Hockney is the poster child for the www.ncpamumbai.com 14 artist as the face of freedom. As he enters The Line-up his 80th year, we trace the achievements of CITI-NCPA Aadi Anant returns in its seventh his last eight decades with a documentary multarzynski . edition to celebrate the guru-shishya heritage. screening at the NCPA. By Bhargav Prasad j 24

24 36 The Classical in the Clowns at the NCPA Two Argentinean clowns have 36 Contemporary set off on a journey to make the A new festival highlights the whole world laugh with mime works of dancers that are breathing new life into classical forms. By Samira Bose 38 28 Stories from Gujarat Through the words of celebrated 28 author Kaajal Oza Vaidya, Gujarati Lucrece Speaks culture comes alive in the story of For Centrestage 2017, British Krishna theatre director Paul Goodwin is adapting Shakespeare’s relatively unknown poem, ‘The Rape of Lucrece’ for the NCPA. 40 Cinema, Television and Along with one of his cast Education members, actor Meher Mistry, In 1972, film-maker Shyam Benegal he talks to ON Stage about offered some notes towards the the challenges of adapting development of educational Shakespeare and gender politics programmes for Indian television across the centuries. Interviewed by Cynthia Lewis Follow us on:

43 facebook.com/NCPAMumbai Programme Guide @NCPAMumbai 32 All of December’s events at The Healing Power of Music the NCPA NCPAMumbai In 2017, the Symphony youtube.com/user/TheNCPAMumbai1 Orchestra of India performed at a few unorthodox venues, 56 pinterest.com/ncpamumbai such as hospitals and crèches, in What’s Next order to bring their art closer to What to look forward to in the those who can’t reach them. coming months We look forward to your feedback and suggestions. Please do drop us an By Rinky Kumar email at [email protected]. COVER STORY aa In Their Fathers’ Footsteps What is it like following in the footsteps of musical legends, blurring the lines between parent and guru? We speak to two young musicians to find out. By Reshma O. Pathare

ur country, for ages, Chakraborty’s daughter,” says up with your guru because not has practised the guru- the talented songstress, Kaushiki only does your practice not get shishya parampara, in Chakraborty. “Growing up with relegated to a few hours, but also, which children would be Baba has been not only the best you learn immensely just watching sent to learn life skills and possible education, but also the your teacher play, hearing his arts at the ashrams of best possible way of living I could ideologies and seeing how he wiseO sages. In contemporary times, have ever asked for. Music has carries himself as a performer.” while the format of this tradition been the way of life for me since Kaushiki’s sentiments find an may have altered, the quest for birth. In fact, I like to say that I echo in Ambi Subramaniam, the the perfect guru, who will hold our talented young violinist and the hand and put us on the right path, son of Dr. L. Subramaniam. “I had remains unabated. Lord Buddha a very liberated upbringing in the had said, “When the student is a sense that even though Appa was a ready, the guru appears.” But renowned artiste, he never bogged the process of “getting ready” me down with an expectation to sometimes takes years in itself. “Growing up carry his legacy ahead,” he says. On the other hand, there are a “Having said that, growing up in few souls who are fortunate to be in a household a household reverberating with born having a coveted guru as a sangeet, there was no way I could parent. They are fortunate to have reverberating with stay away from it. However, for the their guru ready to groom them longest time, I played the violin whenever they show an inkling of sangeet, there was only because I enjoyed playing it. talent, or even before that. But is It was only when I decided to take it indeed a boon or a bane to have no way I could stay it up formally that Appa [became] your guru as a parent? Does it, in my guru. It helps that I’m first his any way, alter one’s life’s choices, or away from it” son, then [his] disciple, and [so], is it the best thing to have your life’s he knew my moods and nuances. path charted for you in the easiest was born in the womb of music, While he is a very strict teacher, I manner possible? Most of all, when because not just Baba but even my think that helped forge a unique the two roles converge and when mother is musically inclined. Our bond [between] us, too. Add to there falls a covert (if not overt) home was filled with music and that, being Appa’s son, I got to responsibility to carry forward the conversations about music 24/7. see beyond the public celebrity guru’s mantle, how does it bode for It was an all-immersive experience persona of many legendary the child who is also a disciple? and that, too, such an organic artistes, including Appa himself. one that I never felt compelled It was humbling to see them skip Born into music to take up music. It was natural their meals and sleep in pursuance “Speaking [for] myself, I feel god for me to take it up because I of their compositions. That kind of could not have been kinder than knew no other way of life. It is a learning rubs off on you and goads Dr. L. Subramaniam and letting me be born as Pandit Ajoy very fulfilling experience to grow you to give your best.” his son, Ambi 24 • July 2017 NCPA NCPANCPA December July 2017 2017 • •51 11 Rakesh Chaurasia and It is awe-inspiring. Another thing Zakir Hussain that I am trying to imbibe from him is the way he adapts his performance according to the audience’s mood. I remember, we were once playing in South Africa and the Brazilian guitarist before us had set the tempo so high that the audience was literally jumping up and down. Our performance that was to follow was a purely traditional, slow-paced one, but Appa adapted to the situation so beautifully that he kept the tempo going and yet stayed true to our performance. Complementing the set mood and creating contrast are two challenges that a performer is always faced with. The way Appa tackles these challenges every time is a huge learning in itself.” For Kaushiki, learning from Chakraborty has been a rigorous, unpredictable and liberating experience. “Rigorous purely for the strict training he brought to the table; unpredictable because he had a penchant for suddenly starting a new piece while performing together and would expect me to follow; and liberating because he has been a guru who knew exactly when to let go of my hand to allow me to chart my own path. His methods, [although] unique, have served immensely in making me the confident singer I am today. He has also been very supportive of all my offbeat decisions, be it singing for films or performing for MTV Coke Studio. However, he remains my biggest On the other side Ghosh and M. Balamuralikrishna. or sleepovers with friends. But, critic. Even today, I get wary of Indeed, while it can be a happy Compared to Baba, they were like now I realise that it was his way of his phone calls that come early [in convergence as these artistes aa cuddly grandfathers who would preparing me for the heightened the] morning, wanting to discuss say, has there never been a time indulge me during riyaaz. No such expectations I would be saddled some song he may have heard when they felt the pressure of luck with Baba though. He brought with once I started performing on YouTube. Mostly, I wind up the their fathers’ expectations was “It is a fulfilling experience to grow up with your the same thorough single-minded professionally.” conversation on the pretext of greater on them than on other commitment to our riyaaz sessions having work, scared of the report students, simply due to the guru because you learn immensely just watching as he did to his performances, My father, my guru card that is bound to follow. I’m genetic ties they shared? “Appa and would tolerate no breach in Having observed their gurus from waiting for his nod of approval has always been a strict teacher, your teacher play, hearing his ideologies and routine. In fact, if I ever expressed close quarters since a tender but I also know it will never come but that’s his way of teaching the desire to read a book or watch age, it is obvious that the artistes because he feels it will make me everyone,” says Ambi. “More than seeing how he carries himself as a performer” television to get over the fatigue of learnt much more than just music complacent. That’s the kind of strict, he is particular about the training, his forehead would frown from them. “Oh, it is a performer’s teacher Baba has been.” technique and structure of music to at all costs. I remember, when Kaushiki makes no bones about at the thought that I found riyaaz delight to be able to observe a being retained in all creations. He I was once collaborating with the fact that her father has been tiring and would want to waste legendary artiste up close and CITI-NCPA Aadi Anant: From Here has always been supportive of a flamenco guitar artiste for a the strictest guru she has ever had. time in anything other than music. personal,” says Ambi. “At this to Eternity seeks to celebrate my experiments but insists that composition, Appa insisted that I Even after all these years, she is yet I did go through a phase [during] age and stage, Appa still stays the vitality of the guru-shishya for any collaboration to work, first learn the basics of flamenco to receive a “nod of approval” from adolescence when I felt odd that awake till 6.00 am, composing parampara. The Mumbai edition will the twin factors of comfort and guitar and only then work on him. “Apart from Baba, I have also Baba would refuse me simple a piece, catches a two-hour nap take place on 3rd and 9th December compatibility have to be adhered the piece.” trained with gurus Jnan Prakash pleasures like going to the cinema and is fresh for the day’s routine. at the Tata Theatre.

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environment in ways that will not be interesting to look at some of the A model for Indian pre- Sesame Street disadvantage them in whatever area of better known series in different parts school programmes functioning they are likely to move into, of the world. By far the most successful If we accept the fact that the learning as they grow up. Indian children who pre-school programme has been the methods in the oral traditions are still have been raised in an extended family Children’s Television Workshop’s worthwhile, we automatically arrive at have had the advantage of having their programme, Sesame Street, in the US. the format: initial learning within the context of The basic objectives of the programmes  A host, preferably a lady who could the family. This tradition of learning – were to prepare disadvantaged children, be identified as an aunt or grandmother, a ‘hand me down’ extending over many particularly ‘inner city’ and ghetto who could conduct the programme. centuries – did not necessarily require children, for school. It was felt that  Use of a combination of modules literacy on the part of those elders in the children from poorer families, deprived to make the whole programme, so that home. More often than not, this learning of normal advantages and without an individual modules could be repeated for took the form of lullabies, rhymes, atmosphere of learning in their homes, reinforcing learning. (This would take traditional stories and precepts based on would be at a disadvantage in learning from the pattern set bySesame Street). religious and secular experiences. The ability terms compared to children Each module could consist of either a rest of the learning followed the patterns who came from more affluent homes story, a statement, a playlet or a film. of conduct observed by the household. and had a background of some form of Once the format has been set, it All of these concerned themselves pre-school education. However, the would then be necessary to work out the with affective values, resulting in the objectives have since changed as Sesame curricular goals. It would be seen from development of concepts that related Street has now become the most popular Sesame Street that curricular goals for to everyday situations and social children’s programme in the United children are more or less the same all relationships, leading towards a world States. over the world. The difference, however, view. The child received an opportunity Sesame Street has a comprehensive would be in the priorities given to each to learn about family and community overall educational programme that of them. In my opinion, the priorities rituals, songs and the meaning of events, allows for a considerable amount of should be rated thus: such as births, marriages and deaths. flexibility in presentation styles and  The child and his world In this tradition, a child was exposed methods to project ideas, attitudes  Social interactions to reality and armed with rationality  Man-made environment and a philosophical base to cope with The important  Cognitive organisation and values it. Added to this form of learning was Symbolic representation in terms entertainment, such as marionette principles in all of learning the alphabet, words and shows, shadow puppetry, the tamasha, such programmes numbers. Cinema, television and education the nautanki and the other folk forms This pattern will make the process of ON Stage brings you excerpts from the NCPA Quarterly Journal, an unsurpassed literary archive particular to any given region of the are to offer easy learning easier and more meaningful that ran from 1972 to 1988 and featured authoritative and wide-ranging articles. In 1972, film- country. They were all, in one identification and for the child. The programmes can be so maker Shyam Benegal offered some notes towards the development of educational programmes way or another, direct learning designed that they would be useful for communications. empathy in terms viewing at home as well as supplements for Indian television TV offers us an opportunity to take of characters and to education in school. To make these this entire area of learning, which is programmes successful, the modules Television has a continuing presence In communication terms, TV would imparting pedagogical instruction, TV basically aural/oral (and unfortunately situations would have to be carefully worked out. [in our lives] day after day. It brings have to play a role in helping to speed would have a prime role to play in making dying out with the advance of literacy The use of symbols and situations would to the viewer a variety of events the transition from a bureaucratic the viewer aware of the society in which and the breakdown of extended and facts. The programme itself works have to take off from familiar ground as simultaneously, even as they take place. democracy to a participatory democracy. he lives, of the way in which he defines families), and then transmit it through within a format that consists of a street far as the children are concerned. Talking This, in turn, creates an alternate or an Again, in order to educate a whole mass himself, and of wrongs and rights, not its mass communication methods. As a – Sesame Street. For easy identification, down would have to be avoided, and the extended environment in the home or the of people, TV would have to be used as as absolutes but as determinants in a form of pre-school learning, TV could the street is set in the ‘inner city’ spirit of enquiry consistently encouraged community, thus adding a completely an extension of formal education. In social situation. Curricular objectives make good use of these forms. However, which, in our context, would be a by a judicious use of scepticism. Each new dimension to communication. TV overall educational terms, TV would can easily be worked into the scheme. the process of literacy can also be used working-class or a lower middle-class module would have to throw up an idea or has the possibility of becoming ‘the have to be used to improve learning By and large, TV will have to do without as an adjunct of the forms mentioned neighbourhood. The success of this a fact to be learned in as precise a manner other family’, capable of replacing a ability and extend human capability. the authoritarian presence of a teacher. earlier. It can bring to the child the programme has a lot to do with the as possible. Above all, the programmes person’s social situation. In this way, Teaching would have to be transformed alphabet, its sounds and its perception by imaginative use of dialogue, narrative, would have to be entertaining. For TV’s ability to manipulate exceeds Educational into the learning process. Programmes challenging the child’s imagination and animation, incidents and stories, using without the element of entertainment, by far the influence of any other mass programming would have to be designed in such a way relating it directly to its environment. adults, children and muppets (puppets). any programme on television can communications medium. Although More specifically, Indian TV would as to prepare a pupil to become ‘aware’ These could then lead to programmes Each learning device is in the form become unbearable. The key lies in there is no doubting the power of TV, have to be educationally oriented. This rather than learned. In formulating an that would help in increasing reading of a self-contained module of a few recognition of the fact that the audience it must be mentioned that the use it can does not necessarily mean that TV has educational programme, we would have abilities. The important principles in minutes each to allow for repetition cannot talk back to the television screen, be put to has built-in constraints. TV to be dull and prosaic. Any educational to set down certain ground rules to help all such programmes are to offer easy and reinforcement. These modules and since a dialogue of this kind is ruled is basically a source of entertainment. programme would have to be, by its ensure its success. identification and empathy in terms of follow the pattern of tried and tested out, it will have to be simulated within Yet, whatever the form, it cannot be very nature, entertaining. In addition characters and situations. television styles, mainly based on TV the programmes themselves. allowed to become yet another opiate. to feeding information, educational Pre-school programmes commercials. The reason for using this Therefore, it becomes necessary to find programmes on TV would have to The objectives of such programmes Some models pattern is obvious. TV commercials are This article first appeared in the NCPA for it an application in social terms – as orient themselves towards improving would be to aim at involving children Before we formulate a model for pre- the most frequently repeated and have Quarterly Journal in December 1972 an instrument of social change. the viewer’s ability to learn. Apart from in relating themselves to their school programmes for India, it would the highest impact. (Vol. I, No. 2).

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